A celebration after the restoration. Count Sheremetev’s feast in the Egyptian Pavilion

The active phase of the restoration of the Egyptian Pavilion at the Ostankino Palace took three years, a period which seemed very long to Moscow residents but a mere blink of an eye to the restorers. Today it is open to the public and the first exhibition is already running there.

Irina Efremova, chief researcher of the State Palace and Park Museum-Reserve Ostankino and Kuskovo, and curator of the exhibition Visiting Count Sheremetev told about the traditions of aristocratic families.

A historic estate for the holidays

While the restorers are strengthening the foundations and “hanging” the walls of the Main House and the Italian Pavilion, the Egyptian Pavilion is bustling with life and is hosting hosts the exhibition Visiting Count Sheremetev.

“All the most impressive estates were built specifically for celebrations and grand receptions,” explains Irina Efremova. “And Ostankino is famous for several such grand receptions, including events in honor of Paul I, Polish King Stanisław Poniatowski and Alexander I”.

The program of these visits was calibrated to the smallest detail, like court ceremonies: a tour of the park and palace, a theatrical performance, and then the culmination — a banquet.

Luxury and minimalism of the Sheremetevs

In the center of the Egyptian pavilion the banqueting tables are recreated on the basis of original drawings from the end of the XVIII century preserved in the museum’s funds. One of the receptions included an opera Zelmira and Smelon, or the Taking of Ishmael on the stage of the Sheremetev theater, with the lead female role sung by serf singer Praskovya Zhemchugova, who later became Countess Sheremeteva.

The most important exhibits in the exhibition are authentic dinner services that were used to set the tables for those very receptions. “Sheremetev had, of course, a lot of silver and even gold tableware,” says Irina Efremova. “But by the end of the 18 th century, porcelain and earthenware from the English factory of Josiah Wedgwood had become fashionable. The fashion for English faience was introduced by Empress Catherine the Great”.

There are several sets on the table, one of which is the work of the English manufactory Wedgwood, made of the famous cream-colored faience, which was also referred to as pale faience in the Sheremetev documents. “Experts believe that this exquisite cream-colored faience was supplied only to Russia,” notes the curator. “This was a specifically the Russian taste, and was introduced by Catherine II”.

The porcelain relies for its impact not on painting, but on the graceful understated decoration according to the fashion of the end of the 18 th century, and it would not look out of place in a modern minimalist interior. The shapes are also interesting: there are numerous terrines (bowls with lids for hot food) and objects not seen in other museum collections, such as plate warmers. “Hot water was poured inside, and some kind of dish was placed on top. Why? Because the food was brought up through the grounds, from the kitchen wing. These warmers are very rare, but we have them,” says Irina Efremova proudly.

The paradox of the Egyptian pavilion, which is actually Roman

The architecture of the Egyptian Pavilion is inspired by Classical architecture, which was so popular during the Enlightenment. The pavilion is built in the form of an atrium, the inner courtyard of a Roman house. Then why is it Egyptian? “A lot of Egyptian valuables were found during the excavations of Roman cities. At that time there was no distinction between the Classical world and Ancient Egypt,” explains Irina Efremova. “People believed that these cultures existed at the same time”.

Egyptian motifs are manifested in details, such as the sphinxes crowning the stoves. “Sphinxes were very fashionable decorative motifs in the late 18 th century. We have counted the number of sphinxes in the palace’s interiors, and altogether, there are just over a hundred of them,” says the curator of the exhibition.

The Art of Rest

The slogan of the Age of Enlightenment, Entertainment and Learning, was embodied in the layout of the palace. “The interiors were created so that the eye does not get tired,” explains Irina Efremova. “A large and bright hall alternates with a narrow, darkened gallery. ‘Chambers of splendor’ with luxurious decoration are succeeded by ’chambers of repose’ where one could relax a little, always in an ideal posture”.

The passage gallery formed the “chambers of repose”, and at one time contained numerous folding tables for card games. Prior to the restoration, the gallery was used as a museum storage facility. It is only now that the opportunity has arisen to restore this interior.

Count Sheremetev’s intelligence and his portrait come to life

The Ostankino Palace was a way for Nikolai Petrovich Sheremetev to assert his status vs-à-vis other nobles. His main rival was Chancellor Alexander Bezborodko. “He even sent his agents to his house to see what new items the chancellor had,” explains Irina Efremova. This rivalry drove not only fashion but also art, resulting in the creation of ever more elaborate interiors and even grander celebrations.

For example, Count Sheremetev ordered the column capitals and pilaster bases as well as the fine carvings on the doorposts and jambs to be finished in silver, in accordance with the latest fashion. But over time, the silver oxidized and darkened. When restorers discovered the genuine silvering beneath the later layers, it was a real revelation. A special restoration council was held to decide whether to restore the silvering or to gild the relief elements. Eventually it was decided to replace the silvering with white gold, which does not tarnish and has the same silver hue. Now the interior looks as it was conceived in the 18 th century, when the palace was first built.

At the entrance, guests are greeted by a portrait of the Count, brought to life, and a detailed interactive model of the Ostankino Palace and garden enabling visitors to switch between day and night, when balls began and fireworks exploded into the air.

Truly a palace

In the 18 th century, the Ostankino Theater-Palace was simply seen as a big house. Everything changed after Alexander II came to Ostankino in 1856. He spent a few days here before his coronation, and it was then that the large house was given the status of a palace. For the event, the interiors were upgraded and new furniture was brought in. Alexander II was received not by Nicholas Petrovich, but by his son Count Dmitri Nikolaevich. He did it with no less grace and brilliance than his father.

The Egyptian pavilion was created for entertainment: there was music, theatrical performances, interesting table conversation, and an atmosphere of joy and creativity. And today, while the highly challenging restoration is still continuing in other pavilions of the palace, there is a sense of celebration again.